The New York Times' Scores

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For 20,271 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Scream VI
    It’s tricky business balancing disturbing terror and jokey film criticism, and while this sequel occasionally pulls it off, the weight of obligations to the dictates of the franchise ultimately drags it down.
  2. 65
    Like Mills’s emotional back story, the special effects seem to have been pulled out of a box of secondhand ideas. Nor is the execution all that impressive. There’s little in the way of awe, suspense or surprise.
  3. Rewind & Play
    The film is not merely playback or payback on behalf of one Black artist by another. Rewind & Play dazzles because it is and will remain a wonder to witness Monk seemingly discovering his compositions again and again, his fingers conjuring, his right foot etching rhythms.
  4. Punch
    Flowing and keenly observant of its characters and setting, Punch swings above its weight class.
  5. 99 Moons
    Gassmann clearly wants to explore the state of love and sexuality in the 2020s — there are more than a few passing parallels to Joachim Trier’s “The Worst Person in the World” — but he succeeds only in conveying the pathologies of two people who can’t figure out what they want from each other.
  6. Champions
    The dispiriting experience of watching Champions is slowly realizing that, notwithstanding an off-color line here or there (a player with Down syndrome introduces himself as “your homie with an extra chromie”), it’s exactly the sort of formulaic crowd-pleaser that just about anybody might have directed.
  7. Luther: The Fallen Sun
    Lacking dialogue to deepen the characters or reinforce their motivations, Luther: The Fallen Sun whooshes past in a rush of serial-killer clichés: an underground lair, a torture room, a masked maniac
  8. The Magic Flute
    In a way it’s kind of neat. In another way it’s kind of dopey. The movie toggles between those two states throughout.
  9. Unicorn Wars
    Unicorn Wars is forcefully provocative, trying too hard to push buttons at the cost of more nuanced explorations of masculinity and power. For Vázquez, a pile of cartoon corpses makes enough of a point.
  10. Therapy Dogs
    Watching its sequences, you can feel both the immediacy of each moment and the nostalgia that’s already seeping in — each snippet of life becoming, by the minute, just a flicker in the teenagers’ minds, like the flashes in the film’s montages, immortalizing their youth before it’s lost to time’s grasp.
  11. Film, the Living Record of our Memory
    For a documentary largely about archives, it should be better organized, but its breathless profusion of information underscores the scale of the task at hand.
  12. Split at the Root
    Split at the Root is a powerful lens into the emotional plight of the thousands of immigrants who cross the border into the United States, the danger they are fleeing and the people trying to help them.
  13. La Civil
    Its rigor is impressive, but also something of a narrative trap. Once the futility of Cielo’s situation, and her persistence in the face of it, are definitively established, a feeling of paralysis sets in.
  14. The Forger
    Peren is clever to favor mischief against a backdrop of gloom, but in doing so she draws a frustrating distance between her subject and the audience.
  15. Gods of Mexico
    This nominal portrait of people isn’t interested in what they have to say.
  16. Creed III
    As entertaining as it is predictable, Creed III does exactly what you expect, delivering nicely balanced helpings of intimacy and spectacle, grit and glamour.
  17. What We Do Next
    The result doesn’t make the best use of the medium’s powers, but the chatty ride does make for good food for thought.
  18. Palm Trees and Power Lines
    Dack takes obvious care to make sure that the filmmaking and camerawork don’t further exploit the character. Yet it’s a bummer that the ethical and political thoughtfulness that she extends during Lea’s most harrowingly vulnerable moments doesn’t extend to the rest of the movie.
  19. The Year Between
    This lived-in quality to the filmmaking supports equally relaxed performances from both veteran and emerging actors, making for an even-keeled and easy viewing experience.
  20. Operation Fortune: Ruse de Guerre
    The silly premise is one that a better Ritchie film could, with some charm, style and wit, have turned into a workable romp. But everything here is stuck on autopilot.
  21. Blueback
    It’s a mournful, stodgy, girl-meets-fish drama about the emotional cost of protecting the planet from its most rapacious predator: the land developer.
  22. Sansón and Me
    The film is an unusually layered look at how the combination of privation, misplaced familial loyalty and just plain rotten luck can make the immigrant experience in America a nightmare.
  23. A Little White Lie
    Hobbled by a lack of visual oomph or verbal sparkle, A Little White Lie pokes feebly at impostor syndrome and writerly insecurity.
  24. Cocaine Bear
    For an audience desperately looking for a good time, they’ll find it. More discerning fans of junk might see an opportunity missed.
  25. The First Fallen
    A gay man of a younger generation, de Oliveira mourns the vulnerability of these characters’ bodies while paying tribute to their flourishes and fears.
  26. We Have a Ghost
    The film grasps onto anything that will amuse itself for a scene.
  27. God's Time
    The three principal actors, particularly Sierra, are appealing. But the story is thin, and the jokes are more cute than funny.
  28. Dancing the Twist in Bamako
    The plot of “Dancing the Twist” is busy, the emotions big, and the screen sometimes as crowded with character and incident as a page of Dickens.
  29. Yanagawa
    It’s a quiet, elemental nourishment of the senses.
  30. Linoleum
    Just when we’re wondering where all this is going, West executes a final act as devilish as it is emotionally potent.
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